{"id":15326,"date":"2024-04-30T08:25:50","date_gmt":"2024-04-30T06:25:50","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=15326"},"modified":"2024-04-25T10:41:20","modified_gmt":"2024-04-25T08:41:20","slug":"the-subtle-art-of-gyorgy-ligeti-influenced-by-salvador-dali","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/the-subtle-art-of-gyorgy-ligeti-influenced-by-salvador-dali\/","title":{"rendered":"The subtle art of Gy\u00f6rgy Ligeti influenced by Salvador Dal\u00ed"},"content":{"rendered":"

The subtle art of Gy\u00f6rgy Ligeti influenced by Salvador Dal\u00ed<\/h1>\n

Ligeti has revealed himself as a \u00a0key element for the XX century avant-garde<\/p>\n

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Antonio Campoy from Madrid, Espa\u00f1a – The memory persistence,<\/em> CC BY 2.0, https:\/\/commons.wikimedia.org\/w\/index.php?curid=138975968\u00a0<\/span><\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

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 <\/p>\n

Marta Vela<\/strong><\/p>\n

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Beyond the cinema language and the extreme celebrity of his music after its appearance in kubrik films,\u00a0 the leading figure of \u00a0Ligeti has revealed himself as a key element for XX century avant-garde thanks to its subtle sound textures and the amount of hidden messages that contains.<\/p>\n

Concepts like the memory, the sound footprint and the blurred images\u00a0 were the first visual inspirations of Ligeti,\u00a0 he started to develop this composition ideas in the late fifty\u2019s during the peak of a systematic movement like the total serialism, totally alien to his sensitivity. Although in his first stages, influenced by Bartok, the great Hungarian composer of the first half\u00a0 of the XX\u00a0 century, refer to \u00a0obvious rhythmic and percussive structures just like the \u201c la musica reicercata\u201d(1951-1953) that sounds to extenuation in \u201c Eyes wide shut\u201d (1999), soon the reminiscences of the medieval polyphony, especially (Ockeghem) reproduced\u00a0 in giant sound masses at the pace of the canon would take hold of his initial productions after his escape of Hungary in works such as Apparitons (1958-1959), Atmosph\u00e8res (1961) <Lux Aeterna (1966) or \u00a0Lontano (1967) all of them under the influence of the so called micropolyphony<\/p>\n

\u201cMicropolyphony is a microscopic\u00a0 counterpoint, a dense texture internally animated where\u00a0 a great number of instruments play slight different versions of the same line. In essence, there can be a counterpoint in three or four parts of different melodies, but each one of them is multiplied, maybe, in a dozen or more variants of itself , and as a result we have and intricately complex\u00a0 net. Although micropolyphony can use simultaneously all the instruments of the score, the most characteristic is that the mass of instruments go in and out\u00a0 and the ability of the composer consists\u00a0 in\u00a0 keeping timbre colorations\u00a0 moving”<\/em><\/p>\n

STEINITZ, R., (2003):\u00a0Gy\u00f6rgy Ligeti, Music of the Imagination<\/em>, London, Northeastern University Press, p. 104. (translated from French)<\/strong><\/h6>\n

However , during the seventy\u2019s, \u00a0after the success of the works mentioned before, \u00a0Ligeti made his way in\u00a0 a language\u00a0 even more \u00a0mecanicco \u00a0and with its intersection with the micropolyphony, merged in the\u00a0 successful expression of \u00a0clocks and clouds , and homage to Karl Popper\u00a0 and the conjunction of both terms\u00a0 in \u00a0his essay Of Clouds and Clocks : And approach to the problem of rationality and the freedom of man (1966)<\/p>\n

Just since the composition\u00a0 of (Poeme symphonique pour cent metronomes (1962) Ligeti had retaken his interest in the rhythm that had culminated in a more meccanico style ( that is to say with more clocks than clouds) that his first visit to EEUU confirmed.<\/p>\n